a dance evening with

Cristina Rizzo
Variazione N°
choreography, lights: Cristina Rizzo
dancing body: Claudia Piana
music: Sonic Youth

A choreographic counterpoint for a solo dancer, conceived in 2006 and fruit of a productive collaboration between Cristina Rizzo (Kinkaleri) and the Junior Balletto di Toscana.  The work borrows the idea of 'variations' directly from classical ballet, a dramatic form that shows off the beauty and skill of the dancer. Deforming the conventions of dance at its own pleasure, this piece builds a figure full of pathos with diamond hardness. 

Giulia Mureddu
Bava
choreography and direction: Giulia Mureddu
in collaboration with Ulrike Quade
dance: Giulia Mureddu
marionette: Ulrike Quade
music: Stravinsky, MatPogo, Bjork, Nohalewis'Mahlon Tails
musical arrangement: Robin Tunca, Giulia Mureddu
lighting: Roland van Ulden
assistance: Robin Tunca
costume: Giulia Mureddu, Ulrike Quade
produced by: Danswerkplaats, Amsterdam

part of MOVING_movimento 2007
a project by Fabbrica Europa; Festival Santarcangelo dei Teatri; Giardino Chiuso / Teatro dei Leggieri, San Gimignano; Officina Giovani - Cantieri Culturali ex Macelli, Prato; Assessorato alla Cultura e alle Politiche Giovanili del Comune di Prato

This work by Guilia Mureddu is a duet between a dancer and a marionette. Its starting point is an investigation of the 'monster' hidden in each of us. The piece reflects on the duality of the urge to let the monster emerge and the attempt to halt or inhibit it. The marionette therefore represents a means of disinhibition - the 'monster -trigger' that makes it possible for us to strip ourselves of our normal attire and put on new or remote aspects of our personality without having to assume responsibility for them.
Combining two such different artistic forms- dance and the manipulation of the marionette- encouraged the choreographer to undertake a exploration of movement as a visual and plastic element. The themes that the choreographer has investigated through improvisation and technical exercises include: the body as scenography, the dialogue between performer and manipulator, orientation in relation to an object and the being placed in the service of the object.
The visual and plastic nature of the movement was developed through a detailed analysis of gestual material, responding to the impulse that generates a movement only to then fragment or dismember it, studying and transforming its fabric.